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电影
血蝶
1971 / 意大利,西德 / 悬疑 / 惊悚
赫尔穆特·贝格 / 贾恩卡洛·斯布拉贾 / 伊妲·伽利 / 温迪·德奥利芙 / 金特·施托尔 / 沃尔夫冈·普莱斯 / 洛雷拉·德卢卡 / Peter Shepherd / 盖比瑞拉·德奥利芙 / 斯特法诺·奥佩迪萨诺 / 安娜·金尼曼 / 达娜·吉亚 / Federica Tessari / 凯荷·安德烈
Duccio Tessari's rare Giallo starring Helmut Berger, Giancarlo Sbragia, Evelyn Stewart, Silvano Tranquilli & Carole Andre. A young student is murdered in a park by an unseen assailant during a heavy thunderstorm. The murderer makes his escape, but is identified by a number of people at the park exit. A sports presenter from a local TV channel, Alessandro Marchi, is quickly arrested, and despite protestations of innocence, is charged with the murder. Marchi calls his lawyer, who promises to have him released very soon, but when it comes to the trial the lawyers case is a weak one, full of holes, and Marchi is duly found guilty. All is not what it seems and it soon becomes apparent that the lawyer is having an affair with Marchi's wife and obviously does not have Marchi's best interests at heart…
电影
伦敦上空的鹰（Battle Squadron）
1969 / 意大利 / 战争片 / 剧情片 / 剧情 / 战争 / 2014
弗雷德里克·斯坦福德 / 范·强生 / 弗朗西斯科·拉瓦尔 / 伊妲·伽利 / 路易吉·皮斯蒂利 / 伦佐·帕尔梅 / 刘易斯·达维拉 / 克里斯蒂安·艾 / 雅克·贝尔捷 / 特蕾莎·金佩拉 / 乔治·里戈 / 爱德华多·法哈多 / 乌戈·阿迪诺尔菲 / 翁贝托·迪格拉齐亚
　　二次世界大战，希特勒妄图入侵英国本土，摧毁英国研发的雷达系统和空军基地指挥部。英军陆军上尉保尔（弗雷德里克·斯塔福德 Frederick Stafford饰）发现德国特工可能冒充英国士兵潜入英国，因此奉命搜捕这群德国特工。与此同时，德国特工人员已在克鲁格（路易吉·皮斯特李 Luigi Pistilli饰）的率领下，在英国展开了秘密活动。　　《伦敦上空的鹰》以二次世界大战为时代背景，故事则以真实事件为原型，用记录戏剧的风格描写了德国纳粹在1940年空袭英国本土，致使英国损失惨重的战争故事。本片由上海电影译制厂配音，童自荣、毕可、乔臻、丁建华等知名配音演员倾情献声。
电影
胆包天
1975 / 意大利 / 动作 / 惊悚 / 犯罪
托马斯·米连 / 约瑟夫·科顿 / Maria Fiore / Mario Piave / 卢西亚诺·卡蒂纳齐 / 圭多·阿尔贝蒂 / 费米·贝努西 / Silvano Tranquilli / Shirley Corrigan / Antonio Casale / 罗萨里奥·博雷利 / 卢西亚诺·皮格齐 / 马里奥·诺维里 / 布鲁诺·迪·鲁亚
Umberto Lenzi is undoubtedly the king of Italian crime movies, but unfortunately; Syndicate Sadists is not the best examples of his work in this genre. Lenzi's crime flicks tend to be a cut above the rest because he makes films based on stories with a point, and they don't lack direction; but this film feels a bit too wayward to fully fit with the rest of his stuff. The film takes obvious influence from Sergio Leone's landmark western 'A Fistful of Dollars' (which in turn, took influence from Akira Kurosawa's landmark samurai flick Yojimbo), in that it features two warring families and a strong character at the centre. The crime that Lenzi focuses on is kidnapping, and we centre on a character called 'Rambo'. Rambo is dragged into the war between the two families after his brother is killed because of it. Rambo uses his brains and brawn to pit the two families against one another, in the hope of gaining revenge for his brother's death, rescuing a young boy that they've kidnapped, and ultimately letting the two sides destroy one another. The film's biggest asset is undoubtedly Tomas Milian. Milian was put to great use by Lenzi in almost all of his crime thrillers. The range of characters he has played for Lenzi is immense, and this one is easily one of the coolest. The character is called Rambo, which immediately sprang to mind the popular Sylvester Stallone character - but for once, the Italians actually haven't stolen this name as Syndicate Sadists was released first! As usual, the film is wickedly entertaining, as we get to watch Milian get himself involved in the usual array of car chases, shootouts and brawls. Lenzi has got him riding a motorbike this time round, and every scene featuring it and Milian is a real standout! However, the film often feels like it doesn't really have anywhere to go, and this means that the running time is stretched out more than it should be. Compared to the crime films of other Italian directors, Syndicate Sadists is more than above average; but in relation to Lenzi crime flicks such as Almost Human and The Cynic, The Rat and The Fist - it doesn't stand tall as one of Lenzi's best. Still, if you're looking for ninety minutes of testosterone fuelled mayhem - Syndicate Sadists will suffice!
电影
甜蜜的生活
1960 / 法国 / 喜剧 / 剧情 / 剧情片 / 上流社会 / 欲望
马塞洛·马斯楚安尼 / 安妮塔·艾克伯格 / 阿努克·艾梅 / 伊冯·弗奴克丝 / 玛加莉·诺埃尔 / 阿兰·居尼 / 安尼巴莱·宁基 / 瓦尔特·圣泰索 / 瓦莱里娅·钱戈蒂尼 / 里卡尔多·加罗内 / 伊妲·伽利 / Audrey McDonald / 波利多尔 / Alain Dijon
马切罗（马塞洛•马斯楚安尼 Marcello Mastroianni 饰）是某杂志的专栏记者，他曾试图成为一名作家但是事与愿违，只得终日为明星绯闻奔忙。马切罗经常出席一些社会名流的交际酒会，于是他暗自和摄影师勾搭，设计拍摄明星隐私然后公诸于众。马切罗有一个女友元玛，在送她回家的途中，搭乘了一位妓院老鸨，后者对他讲述了很多风月场中的轶事，这让他对名利场更加厌恶。在基督教的某个仪式上，一位从美国来的名模总是对着媒体搔首弄姿，后来马切罗的批评家朋友斯泰纳一针见血指出了她的虚伪之处，这让他逐渐认清了上流社会的腐朽，并开始重新审视自己的生活。他发现自己并不热衷奢华的生活，而且对于那个自以为是的元玛也并不满意，并进行了我行我素的反抗……
电影
鞭子与肉体
1963 / 意大利,法国 / 爱情 / 恐怖
达莉娅·拉维 / 克里斯托弗·李 / 托尼·肯德尔 / 伊妲·伽利 / 哈丽特·梅丁 / Gustavo De Nardo / 雅克·赫林 / 卢西亚诺·皮格齐
In the 19th century, a sadistic nobleman terrorizes the members of his family. He is found dead, but his ghost soon returns to haunt the residents of his castle.
电影
冰刀
1972 / 意大利,西班牙 / 悬疑 / 犯罪
卡罗尔·贝克 / 艾伦·斯科特 / 伊妲·伽利 / 爱德华多·法哈多 / Silvia Monelli / 乔治·里戈
This early 70's giallo by Umberto Lenzi is certainly among the best in his filmography and also in the whole genre. Personally I think Lenzi's best films are the funny cartoon-turned-film Kriminal, the stylish giallo Seven Blood-Stained Orchids, the explosive Napoli violenta and this. In the eighties he did plenty of film trash in form of Eaten Alive, Hitcher in the Dark or Black Demons, all of which are ripping something off and/or very dull and slow moving. Knife of Ice came when the giallo boom was at its hottest and the result is convincing. Technically the film is superb, containing great cinematography in the beginning when we learn about the main character's trauma towards trains. From this point on, Lenzi shows us his ability to benefit the widescreen and, for example, the bicycle ride near the forest is genuinely beautiful! This scene also shows Lenzi's ability to build suspense, very slowly but meaningfully. After all, there aren't so many murders in the whole film, only the suspense circulating around the murderer's identity. One suspect is a devil worshipper which brings new aspects to the mystery. Since the final scene takes place in a church, one can wonder if Lenzi wanted to comment on something, maybe the hypocritical morale of church and superstition. The main character (Carrol Baker) is mute which demands a lot from her face and eyes. The actress works very well, giving us a believable performance circulating around the emotions of fear and mental pain. The other actors are good, too. The finally, however, may not give too positive a sight about female sex since they all are expressed rather negatively in the film, one way or another. Still this is easily among the most noteworthy in the genre, not as bloody as the Argento films, for example, but equally suspenseful and visually also interesting.